Ian Carr Double Quintet - Solar session

Styles: Trumpet Jazz
Year: 2021
File: MP3@320K/s
Time: 26:41
Size: 61,3 MB
Art: Front

(1:36) 1. Element 1
(4:42) 2. Bedrock Deadlock
(7:32) 3. Spirit Level
(4:06) 4. Torso
(8:42) 5. Snakehips' Dream

One of the first European jazz bandleaders to embrace synthesizers, bass guitars and other electric instruments, trumpeter, composer and author Ian Carr forged a singularly British style of jazz-rock with his band Nucleus, which he formed in 1969 and with which he recorded a dozen albums through the 1970s. Carr had previously paid extensive dues in acoustic jazz, most notably as co-leader with saxophonist Don Rendell of the highly regarded, culturally inclusive Rendell-Carr Quintet from 1964 to 1969.

Carr was a great admirer of Miles Davis and was the author of the authoritative Miles: A Critical Biography (Quartet, 1982). But he did not allow his admiration for Davis to shape Nucleus, which developed in parallel to rather than in the slipstream of Davis' electric bands. Carr's trajectory had deeper roots in the ideas of pianist and composer Neil Ardley, out of whose 1969 ensemble Nucleus' original lineup emerged. Like Ardley, Carr broke rules and defied genres, and Nucleus drew on progressive rock, contemporary classical and electronica in addition to jazz. In his 1973 survey of British jazz, Music Outside: Contemporary Jazz in Britain (Latimer New Dimensions), Carr famously declared: "To hell with dogma!"

Solar Session is another valuable recovery from the vaults by the estimable not-for-profit label Jazz In Britain. It comprises a 26:44 suite which was recorded live in the studio on October 26 1970 and broadcast the following night on BBC radio. Two months later, the same "double quintet" (with the addition of trumpeter and flugelhornist Kenny Wheeler) went on to record an extended and restructured version of the material, which was released as Nucleus' third album, Solar Plexus (Vertigo, 1971). A work-in-progress, the music on Solar Session provides an insight into the development of the suite, which, on the 8:41 closing track, "Snakehips' Dream," shows its closest, yet still glancing, intersection with Miles Davis' Bitches Brew (Columbia, 1969), which had been released eight months earlier. By Chris May https://www.allaboutjazz.com/solar-session-ian-carr-jazz-in-britain

Personnel: Ian Carr: trumpet; Harry Beckett: flugelhorn; Brian Smith: saxophone, tenor; Tony Roberts: saxophone, tenor; Karl Jenkins: keyboards; Chris Spedding: guitar, electric; Ron Matthewson: bass, electric; Jeff Clyne: bass, acoustic; John Marshall: trumpet; Chris Karan: congas; Keith Winter: synthesizer.

Solar session

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Willie Jones III - Groundwork

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:43
Size: 98,4 MB
Art: Front

(4:41)  1. Git'cha Shout On
(6:10)  2. Hindsight
(6:48)  3. Dear Blue
(5:23)  4. Toku Do
(4:43)  5. Charity
(6:27)  6. Groundwork
(4:02)  7. New Boundary
(4:25)  8. Jamar

Drummer Willie Jones III is releasing a new album, Groundwork, dedicated to the late Cedar Walton, Ralph Penland, Mulgrew Miller and Dwayne Burno, influences on Jones who have passed in recent years. Jones’ sixth album as a leader and the 17th release on WJ3 Records, is now available on iTunes and Amazon.com and will be in stores on February 19. On Groundwork, according to a press release, Jones explores the works of Walton, his former bandleader; Penland, an early mentor; and Burno, Jones’ contemporary and former band mate. 

The album also includes original tunes by Buster Williams, Eric Reed and more. Musicians on the recording include Williams (bass) and Eddie Henderson (trumpet), Reed (piano), Warren Wolf (vibes) and Stacy Dillard (saxophones).  https://jazztimes.com/news/drummer-willie-jones-iii-dedicates-new-album-to-departed-influences/

Personnel:  Drums – Willie Jones III;  Bass – Buster Williams; Piano – Eric Reed; Tenor Saxophone – Stacy Dillard; Trombone – Steve Davis; Trumpet – Eddie Henderson; Vibraphone – Warren Wolf

Groundwork

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The Spike Wilner Trio - Aliens & Wizards

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 46:13
Size: 106,5 MB
Art: Front

(3:54) 1. Righty-O!
(6:56) 2. Non Troppo
(6:32) 3. Adagio
(4:36) 4. Mindset
(4:23) 5. Blue Gardenia
(4:35) 6. Stella By Starlight
(3:18) 7. Aliens & Wizards
(6:10) 8. Prayer for Peace
(5:45) 9. Trick Baby

Spike Wilner generally noted in his native New York City as an excellent jazz pianist, is even more widely known as proprietor of two of the city's leading jazz clubs, Smalls and Mezzrow. Though hard hit by the Covid-19 pandemic, Wilner has soldiered on, presenting live music whenever possible and forming the SmallsLIVE Foundation, a non-profit arts group dedicated to creating and propagating jazz in New York through recordings, live streaming, archiving, educational initiatives and live performances. Wilner's foundation teamed up with fellow musician and entrepreneur Cory Weeds' Cellar Music Group to produce Aliens & Wizards, a splendid trio date showcasing Wilner, bassist Tyler Mitchell and drummer Anthony Pinciotti.

Besides leading the trio, Wilner, who shows admirable control of the keyboard, wrote six of the album's nine selections to accompany the standards "Blue Gardenia," "Stella by Starlight" and the high-stepping opener, "Righty-O!" Even though Wilner's compositions are laudable, the other three clearly stand among the album's highlights. Wilner earns high marks for the earnest, hymn-like "Prayer for Peace," which modulates to soulful blues and freewheeling jazz before returning to its reverential taproot, and for the fast-paced finale, "Trick Baby" (aka "Love for Sale"), wherein everyone loosens up and lets the sparks fly as they may, as they do earlier on Wilner's double-quick "Non Troppo."

The mercurial "Righty-O!" ("Lady Be Good"?) would test any trio's mettle; Wilner and his mates not only meet the challenge head-on but do a commendable job of taming the beast. Wilner frames a crisp solo, which is followed by dynamic four-bar exchanges with Pinciotti. That leads to a trio of Wilner's amiable charts: "Non Troppo," "Adagio" and "Mindset," followed by "Gardenia" and "Stella," whose inherent charms are earnestly brought to the fore by the trio. Wilner is notably eloquent on "Gardenia," well-spoken and sturdy on "Stella," wherein Mitchell also solos sharply.

As Aliens & Wizards was recorded in August 2020, "at the height of the pandemic," as the liner notes attest, the assumption is that everyone was suitably masked and distanced. Whatever the case, Wilner's trio has recorded an impressive session, which, as icing on the cake, is devoted to a good cause. Let's hope that normal times return soon to Smalls and Mezzrow and, indeed, to every venue in New York City and around the country rekindling the fire and excitement of live jazz for audiences who have for too long been unable to respond to and appreciate its insuperable spirit.
By Jack Bowers https://www.allaboutjazz.com/aliens-and-wizards-spike-wilner-cellarmusic

Personnel: Spike Wilner: piano; Tyler Mitchell: bass; Anthony Pinciotti: drums.

Aliens & Wizards

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Melissa Aldana - 12 Stars

Styles: Saxophone
File: MP3@320K/s
Time: 45:01
Size: 103,4 MB
Art: Front

(6:22) 1. Falling
(7:30) 2. Intuition
(0:38) 3. Intro to Emilia
(7:35) 4. Emilia
(7:22) 5. The Bluest Eye
(6:50) 6. The Fool
(5:41) 7. Los Ojos de Chile
(2:59) 8. 12 Stars

Before we get into tenor saxophonist Melissa Aldana's album which is excellent, so hang on in there a word about press releases and publicity campaigns. Specifically, those from Blue Note.

The label's headquarters in Los Angeles is in danger of becoming known for award-winning b.s. in this regard, as demonstrated during the campaign for Aldana's label debut. Here is an example: 12 Stars, we are told, "grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love." Given that there is not one spoken word on the entire album, or any clues in the track titles, this is a fatuous statement. Heaven knows what Alfred Lion would have thunk.

On to better things. Aldana fronts a quintet which includes three members of the quartet she has led since 2017: guitarist Lage Lund, who also produced and who co-wrote with Aldana all but the thirty-nine second snippet "Intro To Emilia," bassist Pablo Menares (who wrote "Intro To Emilia") and drummer Kush Abadey. The fifth member is pianist Sullivan Fortner.

Aldana studied with George Garzone at Berklee and, after graduating, moved to New York to study with George Coleman. She names both players as "dear friends" in the album credits but, since debuting with Free Fall (Inner Circle, 2010), she has developed a style which outwardly owes little to either of them. It could be described as "active meditation" in that it comes across as inward looking but is infused with a degree of energy and movement not normally part of meditation practice. It is, perhaps, the cerebral version of another apparent oxymoron, "hot yoga."

Anyway, call it what you will, Aldana has got it down. So, too, her sound, which most often inhabits the middle and upper registers of the tenor, entirely avoiding harmonics and broken or vocalized tones. It is a pure, clean, athletic sound, with just a trace of vibrato on extended notes. Aldana is the key soloist throughout and so beautiful is her playing, and so inventive her ideas, that Lund and Fortner's occasional brief solos almost (almost) seem like a distraction. Fortner swaps the acoustic piano for a Rhodes on two tracks, on which he and Lund, who is credited with "gizmos" as well as guitar, conjure an enjoyably trippy ambiance. 12 Stars merits a solid four stars.~Chris May https://www.allaboutjazz.com/12-stars-melissa-aldana-blue-note-records15648

Personnel: Melissa Aldana: saxophone; Lage Lund: guitar; Pablo Menares: bass; Sullivan Fortner: piano; Kush Abadey: drums.

12 Stars

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David Murray Brave New World Trio - Seriana Promethea

Styles: Clarinet And Saxophone Jazz
File: MP3@320K/s
Time: 57:39
Size: 132,4 MB
Art: Front

(4:48) 1. Seriana Promethea
(8:17) 2. Necktar
(7:22) 3. Metouka Sheli (Ballad For Adrienne)
(8:31) 4. Rainbows For Julia
(9:34) 5. Switchin' In The Kitchen
(7:24) 6. Anita Et Annita
(6:25) 7. If You Want Me To Stay
(5:15) 8. Am Gone Get Some

It's over 45 years since David Murray blew into the Lower East Side lofts from California. For a while he was near ubiquitous and amassed a discography to match. While releases have become less prolific in the decades since, he remains restlessly active, and Seriana Promethea by his Brave New World Trio ranks alongside his best. With a saxophone style strung between the twin poles of the New Thing of Albert Ayler and the earlier practices of Coleman Hawkins and Ben Webster, it is the latter which has exerted the greater pull over time.

The eight cuts, seven by Murray and one cover, comprise material honed on tour and subsequently captured in the studio in November 2021. Each is based around accessible song form, handled with aplomb by bassist Brad Jones and drummer Hamid Drake, who furnish a rock solid bottom end and a buoyant swing which allows the leader to go as far out as he wishes, but packs enough sass to grip tight when needed.

While there's nothing revelatory about Murray's playing, he is supremely accomplished, full of nuance, and a consummate exponent of the ballad. Hinting at his seminal experiences in the lofts, he colors his contemporary mainstream discourse with adroitly co-opted extremes and a preternatural command of the upper register. With his extraordinarily deep woody tone Jones proves a fount of melodic variation without missing a beat, both in counterpoint and when stepping forward. He can hold down the riffs with the best, but it's what he interpolates between which grabs the attention. Murray has always shown an affinity for strong drummers, as albums with the likes of Sunny Murray, Rashied Ali, Andrew Cyrille, Steve McCalland Elvin Jones attest, so his ten years and counting association with Drake comes as no surprise.

Murray wields his bass clarinet for the only time on the jaunty grooving title cut, establishing a percolating vamp in consort with Jones before spinning out ever expanding runs punctuated by the occasional excited yelp. Each of the tracks stays true to the parameters of the tunes, but Murray often stretches the boundaries, perhaps posing himself challenges in doing so. One such comes on the standout, "Rainbows For Julia," with its aching yet celebratory feel, where after setting out the theme he elaborates on it by running his notes together using a tremolo effect which he takes further and further into the weeds, while keeping the original refrain just about discernible. The overall impact is remarkable.

Murray similarly infuses the tradition with the avant saxophone lexicon to confound expectations elsewhere as well, whether with a legato which flows like lava over the rocky outcrops on "Necktar" or the spicing of his elongated lines with peppery exclamations on the upbeat "Switchin' In The Kitchen." "Anita Et Annita" convinces as tender double portrait, while Murray imbues Sly And The Family Stone's "If You Want Me To Stay" with an almost religious fervor. Classic jazz, but what sets it apart is that it is done so well with absolute conviction. By John Sharpe https://www.allaboutjazz.com/seriana-promethea-david-murray-intakt-records

Personnel: David Murray: bass clarinet, tenor saxophone; Brad Jones: bass; Hamid Drake: drums.

Seriana Promethea

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Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

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Sandra Marlowe - The Heart Always Remembers

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 72:27
Size: 166,9 MB
Art: Front

(4:47) 1. Fascinating rhythm
(5:34) 2. When did you leave heaven
(4:56) 3. Practical arrangement
(4:27) 4. In my arms
(4:37) 5. Too much heaven
(8:24) 6. Corner store blues
(5:28) 7. A sweet wind
(4:14) 8. Nice weather for ducks
(6:53) 9. Whistling away the dark - Anyone can whistle
(5:01) 10. The heart always remembers
(7:25) 11. Trav'lin' all alone - Travelin' light
(5:10) 12. So quiet is the night
(5:24) 13. Let the music take you

The heart always remembers, but so too do the ears. Vocalist Sandra Marlowe, probably aware of that fact, quickly grabs attention by demonstrating a real métier for metric play and gymnastics on pianist Larry Dunlap's witty, album-opening arrangement of "Fascinating Rhythm." Once that focus is on her work, Marlowe doesn't let up. In short order there's a balladic "When Did You Leave Heaven?" which dials things down (and offers some space to bassist Dan Robbins), a waltzing take on Sting's "Practical Arrangement" showcasing the singer's well-paced emotional arc(s), and a full-on embrace of touching and tender jazz-pop with Robin Hambey's "In My Arms." By the time the program arrives at Dunlap's Brazilian-influenced look at the Bee Gees' "Too Much Heaven," it's clear that Marlowe knows how to hold her own in plenty of spaces.

Originals and clever medleys make up most of the balance of the program, with Fran Landesman and Tommy Wolf's snazzy yet light-hearted "Nice Weather For Ducks" acting as the only performance which doesn't slot into any of those categories. Marlowe offers three self-penned selections, sending out the fiery and down-home "Corner Store Blues," the calming bossa-based "A Sweet Wind" and the moving title track; Dunlap delivers two for the road, contributing his intimate "So Quiet Is The Night" and upbeat, samba-strutting "Let The Music Take You" at the album's end; and compositional mergers make for good bedfellows in different places, made clear through the flowing-turned-sunny "Whistling Away The Dark/Anyone Can Whistle" and sly "Trav'lin All Alone/Travelin' Light." Cooking up a baker's dozen of treats with help from Dunlap, Robbins, drummer Jason Lewis and a few one-time guests, Marlowe truly makes her voice carry. By Dan Bilawsky https://www.allaboutjazz.com/the-heart-always-remembers-sandra-marlowe-lovedog-media

Personnel: Sandra Marlowe: voice / vocals; Larry Dunlap: piano; Dan Robbins: bass; Jason Lewis: drums.

The Heart Always Remembers

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Lee Konitz, Alan Broadbent - More Live-Lee

Styles: Saxophone And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 66:06
Size: 151,9 MB
Art: Front

(7:34) 1. Invitation
(6:21) 2. Body and Soul
(6:47) 3. Thingin'
(5:40) 4. You Stepped Out Of A Dream
(4:10) 5. Nothin'
(8:03) 6. I Can't Get Started
(6:53) 7. Lennie's
(7:18) 8. How Deep Is The Ocean?
(4:31) 9. You Go To My Head
(2:55) 10. Bending Broadly
(5:52) 11. Just Friends

Tristano disciples Lee Konitz and Alan Broadbent paired together back in 2000 at the Jazz Bakery for two nights of improvisational wizardry. Their first release, Live-Lee, was of such high quality that the remaining tracks have been assembled on the encore release. If anyone knows anything about these two souls, there is no such thing as a "leftover" performance; each song has here has the same merits and magic as the initial Live-Lee.

Broadbent and Konitz paint quite the picture as they cruise around and under the melody. Broadbent, with his spacious support, lays a gentle foundation for Konitz' airy tone to float over. Broadbent also knows when to swing and push, as demonstrated on the assertive and fiendishly arranged "Bending Broadly." Rhythm is always implied and well stated on the pieces like the supple "Thingin'" and "You Stepped Out of a Dream." Broadbent is even allowed to demonstrate his prowess and reception of the Bill Evans baton on the effusive "You Go to My Head."

The focus of More Live-Lee, however, is Konitz, who seems to shine in settings with minimal accompaniment. His treatment of "I Can't Get Started" is as definitive as Lester Young's and just as mournful, wistful and yearning. His dry tone is immediately identifiable and elicits emotional and visceral reactions like few musicians can. As a music teacher once said, "If you have a good tone, your audience will hang in with you wherever you take them." Konitz and Broadbent have added another path for us to follow.By AAJ Staff https://www.allaboutjazz.com/more-live-lee-lee-konitz-review-by-aaj-staff

Personnel: Lee Konitz- alto sax; Alan Broadbent- piano.

More Live-Lee

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Chick Corea - The Montreux Years

Styles: Piano Jazz
File: MP3@320K/s
Time: 84:26
Size: 193,9 MB
Art: Front

( 7:51) 1. Fingerprints
(13:41) 2. Bud Powell
(11:46) 3. Quartet No. 2 (Pt. 1)
( 4:31) 4. Interlude
( 4:41) 5. Who’s Inside the Piano
( 7:14) 6. Dignity
(10:07) 7. America (Continents Pt. 4)
(14:10) 8. New Waltz
(10:19) 9. Trinkle Tinkle

If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for collaborations in all manner of settings.

Eight cuts from six performances, with a running time of about seventy-four minutes, somewhat belies the twelve year chronology of The Montreaux Years. The late esteemed musician first appeared at the iconic festival in 1972, then almost two dozen times thereafter, an extended sequence of events which lent itself to exactly the kind of rotating presentations of which this set is a microcosm.

Corea's inimitable combination of formality and playfulness is potent throughout. And it is not just readily on the Akoustic Band's "Quartet #2 (Pt. 1)," but also (literally) at the opposite end of the musical spectrum on "Interlude;" unfortunately, this overlong audience call-and-response, in the company of the Elektric Band, illustrates the man's penchant for crowd-pleasing as an end in itself. As throughout this CD, on "America (Continents Pt.4)" the sound of the recording has all the realism of the room in which the musicians are playing, no doubt due to the MOA process used in the restoration and mastering of the audio by Tony Cousins.

That latter cut is the closest this anthology gets to a solo piano piece here but, fortunately, a snippet of the man alone at the ivories at the outset of "Dignity" mitigates the absence of such a track. On this dedication to the author's mother, the invigorating interplay with drummer Jeff Ballard and bassist Avishai Cohen balances the tranquility of the leader's interval, while saxophonist Bob Berg's high-flying interlude during the final track, just over fourteen minutes of "New Waltz," also makes for a fittingly rousing close.

The liner notes for The Montreaux Years could have been better conceived and executed to more fully align with the music to which they are devoted. Rather than filling many of the fourteen pages inside the hardbound covers with sentimental reminiscences, more pertinent details about the respective timelines of the groups that appear in the set (and perhaps even some discographical info) would accurately place the ensembles within the chronology of Corea's career; such scholarly information would have been more in line with the borderline deluxe design of the package with its 3D lettering on the outer front cover alongside Joe Weghon's colorful art (which also appears on the compact disc itself).

Fortunately, such academic criticism becomes moot when listening to the likes of the easy-going shuffle of The Freedom Band's take on "Bud Powell," especially as it so dramatically contrasts the New Trio's rollicking opening of "Fingerprints." The Montreux Years is a suitably celebratory historical homage to one of the most iconic jazz musicians of our time. By Doug Collette https://www.allaboutjazz.com/the-montreux-years-chick-corea-bmg/

Personnel: Chick Corea: piano; Frank Gambale: guitar; Eric Marienthal: saxophone, soprano; Bob Berg: saxophone; Kenny Garrett: saxophone, alto; Tim Garland: saxophone; Hans Glawischnig: bass; Christian McBride: bass; John Patitucci: bass, acoustic; Avishai Cohen: bass; Marcus Gilmore: drums; Dave Weckl: drums; Roy Haynes: drums; Jeff Ballard: drums; Tom Brechtlein: drums; Gary Novak: drums.

The Montreux Years

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Andy LaVerne Feat. John Patitucci, Bob Sheppard, Dave Weckl - Pleasure Seekers

Styles: Piano Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 53:51
Size: 127,7 MB
Art: Front

(5:17) 1. Pleasure Seekers
(5:54) 2. Pleasure Centre
(4:45) 3. Chestnuts
(5:33) 4. My Name Only
(4:00) 5. Parisian Thoroughfare
(7:15) 6. Sticky Mike's Frog Bar
(4:23) 7. Triple 3 Double 2
(7:42) 8. Kissing Thru Glass
(5:22) 9. Reverse Osmosis
(3:35) 10. Clearer, Cleaner, Safer, Greener

On this CD, keyboardist Andy Laverne performs eight of his own compositions, one song co-written with guitarist Chuck Loeb, and Bud Powell's "Parisian Thoroughfare." Laverne's arrangements for the quartet (which also includes Bob Sheppard on tenor and various reeds, bassist John Patitucci and drummer Dave Weckl) use light funky rhythms and put an emphasis on melodic improvising.

With the exception of "Chestnuts" (based on "All the Things You Are"), the chord changes are all new. Somehow the quartet (which had only first come together just a few days earlier) sounds like a regularly working band. Overall, this is a pleasing session of accessible yet reasonably explorative jazz.By Scott Yanow https://www.allmusic.com/album/pleasure-seekers-mw0000265528

Personnel: Piano – Andy LaVerne (tracks: 1-10); Acoustic Bass, Electric Bass – John Patitucci (tracks: 1-10); Saxophone, Clarinet, Flute – Bob Sheppard (tracks: 1-10); Drums – Dave Weckl (tracks: 1-10)

Pleasure Seekers

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Helen Humes - Swingin' With Humes

Styles: Vocal, Swing
Year: 1961
File: MP3@320K/s
Time: 41:37
Size: 96,8 MB
Art: Front

(3:29)  1. When Day Is Done
(3:55)  2. Home (When Shadows Fall)
(2:53)  3. There'll Be Some Changes Made
(3:36)  4. Some Day My Prince Will Come
(3:48)  5. I'm Confessin'
(3:09)  6. S'posin'
(3:19)  7. Pennies From Heaven
(3:17)  8. The Very Thought Of You
(3:27)  9. Baby Won't You Please Come Home
(4:01) 10. Solitude
(4:01) 11. I Surrender Dear
(2:35) 12. My Blue Heaven

The third of Helen Humes' three memorable Contemporary releases, all of which are out on CD, features the distinctive singer on a dozen standards that she had missed documenting thus far. With fine backup work by trumpeter Joe Gordon, tenor saxophonist Teddy Edwards, pianist Wynton Kelly, guitarist Al Viola, bassist Leroy Vinnegar and drummer Frank Butler, Humes is in top form on such tunes as "When Day Is Done," "There'll Be Some Changes Made," "Pennies From Heaven" and "The Very Thought of You." One of her better albums.
By Scott Yanow  https://www.allmusic.com/album/swingin-with-humes-mw0000691152

Personnel:  Vocals – Helen Humes;  Tenor Saxophone – Teddy Edwards;  Trumpet – Joe Gordon;   Bass – Leroy Vinnegar;  Drums – Frank Butler;  Guitar – Al Viola;  Piano – Wynton Kelly

Swingin' With Humes

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Samara Joy - Linger Awhile

Styles: Vocal
File: MP3@320K/s
Time: 41:20
Size: 95,1 MB
Art: Front

(3:42) 1. Can't Get Out of This Mood
(4:09) 2. Guess Who I Saw Today
(3:30) 3. Nostalgia (The Day I Knew)
(3:54) 4. Sweet Pumpkin
(4:54) 5. Misty
(4:30) 6. Social Call
(5:04) 7. I'm Confessin' (That I Love You)
(1:47) 8. Linger Awhile
(5:42) 9. 'Round Midnight
(4:02) 10. Someone To Watch Over Me

Every so often a new vocalist blows everyone on the jazz scene away with their distinctive style, charm, and dexterity. Samara Joy is that new voice that’s giving new purpose to the music. Last year, the 22-year-old put out her self-titled album debut; since graduating from college, she has also performed in Switzerland and Paris. (Her live performances are just as breathtaking as experiencing her on wax. For many musicians that’s not so easy, but she does it effortlessly.)

Touring internationally has sharpened her skills. There’s plenty of evidence of that musical maturation on her new recording Linger Awhile, a nostalgic stroll through well-known and obscure standards. One trait she carries on from her last album is the mixing of swing and sweet tunes. The romantic feel she infuses into songs would make any loving couple want to hold each other while listening to her sing. By Veronica Johnson https://jazztimes.com/author/veronica-johnson/

Personnel: Samara Joy: voice / vocals; Ben Paterson: piano; Pasquale Grasso: guitar; David Wong: bass; Kenny Washington: drums.

Linger Awhile

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Teresa Brewer & Stephane Grappelli - On the Road Again

Styles: Vocal, Violin Jazz
Year: 1983
File: MP3@320K/s
Time: 35:19
Size: 81,5 MB
Art: Front

(3:46) 1. On The Road Again
(2:49) 2. It Had To Be You
(3:52) 3. Come On And Drive Me Crazy
(2:58) 4. Smile
(4:50) 5. After You've Gone
(2:57) 6. I Love A Violin
(2:57) 7. Don't Take Your Love From Me
(5:15) 8. Them There Eyes
(5:50) 9. As Time Goes By

Teresa Brewer started out as a spunky novelty vocalist in the 1950s and weathered the rise of rock to emerge as an exuberant jazz singer in the 1970s. Though some find it disconcerting to hear her cutesy, slightly nasal Your Hit Parade-style delivery in a jazz context, at her best she can swing with a loose and easy fervor, aided greatly by the distinguished company she often keeps on her records.

Brewer started singing on Major Bowes' Amateur Hour at the age of five and scored her first big hit as a teenager in 1950 with the diabolically catchy "Music! Music! Music!" That ditty found its way onto almost every jukebox in the land and launched a series of hit singles on Coral stretching all the way to 1961. Her marriage to record producer Bob Thiele in 1972 led to her re-emergence via a long string of albums for Thiele's labels (Doctor Jazz, Signature, Red Baron), often in tandem with such luminaries as Count Basie, Benny Carter, Duke and Mercer Ellington, Stephane Grappelli, Earl Hines, and Clark Terry. By Richard S.Ginell https://www.allmusic.com/artist/teresa-brewer-mn0000017882/biography

Personnel: Vocals – Teresa Brewer; Violin – Stephane Grappelli; Acoustic Guitar – Diz Disley; Bass – Jack Sewing; Electric Guitar – Martin Taylor

On the Road Again

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Herb Alpert - Midnight Sun

Styles: Trumpet Jazz

Year: 1992

File: MP3@320K/s

Time: 51:28

Size: 119,1 MB

Art: Front

(6:06)  1. Midnight Sun

(3:54)  2. All The Things You Are

(5:18)  3. Someone To Watch Over Me

(5:53)  4. In The Wee Small Hours

(4:22)  5. Friends

(6:52)  6. A Taste Of Honey

(5:47)  7. Mona Lisa

(5:09)  8. I've Grown Accustomed To Her Face

(3:51)  9. Silent Tears And Roses

(4:13) 10. Smile

Having recently sold A&M to PolyGram for a cool $500 million, and with his short but hugely affecting association with the late Stan Getz on his mind, Herb Alpert finally took the plunge and recorded what he called a jazz album, his last for the label he co-founded. But this would not be a conventional blowing session; rather it is an intimate, inward, wee-small-hours kind of album where, muted and not, Alpert's horn sighs, laments and sings over a conventional rhythm section and underneath a blanket of lush strings. Without a doubt, Miles Davis in his introspective '50s mode is Herb's primary inspiration always has been  and he uses space between the notes in similar ways, but always with his own tone and distinct phrasing. Two old favorites from the TJB days, "A Taste of Honey" and "I've Grown Accustomed to Her Face," are revisited; "Taste" is completely transformed into a dark elegy that breaks into the light before turning back to the shadows. One track, "Friends," was left over from 1990, where Herb was joined by a luminous-sounding Getz; they really play like intimate friends together. This is not a terribly spontaneous album Alpert is too much the master of structure to leave very much to chance but it creates a mood of melancholy serenity that is difficult to resist.
By Richard S.Ginell http://www.allmusic.com/album/midnight-sun-mw0000612559

Personnel: Herb Alpert (vocals, trumpet); Larry Carlton, John Pisano, Barry Zweig (guitar); Stan Getz (tenor saxophone); Frank Collett, Eddie del Barrio (piano); Monty Budwig (bass); Harvey Mason, Jeff Hamilton (drums).

Midnight Sun

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Quincy Jones - Explores The Music Of Henry Mancini

Bitrate: 320K/s
Time: 37:52
Size: 86.7 MB
Styles: Crossover jazz
Year: 1968/2009
Art: Front

[2:51] 1. Baby Elephant Walk
[3:14] 2. Charade
[3:48] 3. Dreamsville
[4:09] 4. Bird Brain
[2:42] 5. Days Of Wine And Roses
[2:28] 6. Mr. Lucky
[3:26] 7. The Pink Panther
[2:50] 8. (I Love You) And Don't You Forget It
[3:08] 9. Soldier In The Rain
[3:45] 10. Odd Ball
[2:31] 11. Moon River
[2:54] 12. Peter Gunn

As modern big-band leaders go, Quincy Jones in the '60s would be first choice for many composers who wrote for a television series or the cinema. Though not the original themes, Jones was quite able to produce a full album featuring Henry Mancini's famous songs from movies and the small screen. This collection of the familiar and obscure Mancini done in 1964, preceded famed epic scores written by Jones from films The Pawnbroker and The Deadly Affair. It comprises several well-known hit tunes and a smattering of cuts not easily identifiable as the hummable and memorable Mancini classics. Taken from three separate sessions, the bands assembled by Jones are loaded, including Jerome Richardson, Billy Byers, Urbie Green, Clark Terry, Ernie Royal, Snooky Young, Mundell Lowe, Zoot Sims, Phil Woods, and Seldon Powell, Drummer Osie Johnson plays on all tracks, pianist Bobby Scott is a central figure, as are bassists Milt Hinton and Major Holley. A young saxophonist and flutist named Roland Kirk appears on four tracks, and the emerging vibraphonist Gary Burton is on another eight. A burgeoning talent, Jones was 31 when these recordings were made, and gaining momentum for his talents in Hollywood and Los Angeles. Though everybody knows "Baby Elephant Walk," they might not have heard the thorny electric guitar, staccato bells, and bowed bass and vocals via Holley and Hinton that Jones inserts into this version. Where the cool and slinky theme from "Pink Panther" also has the bassists jiving vocally and using their arco techniques under flutes and finger snaps, "Mr. Lucky" is the epitome of Count Basie like cool, while the spy music of "Peter Gunn" retains the bassists trickery as Burton's electrically echoed marimba and a Phil Woods alto sax solo broaden the scope of "Peter Gunn"'s field.

"Dreamsville" is a luscious ballad with harp and piano featured, "Days of Wine & Roses" starts typically pristine but runs into detailed, progressive interpretations, and "Moon River" is completely changed up into a waltz with Kirk's irresistible small saxello solo. The very hip, easy swinging "Odd Ball" is certainly the least-known Mancini piece not related to any cinematic connection, as quickened horns contrast against the slower beat and the choppy chords of Scott. The obscure "Charade" is really a jewel of the brilliance in re-arrangement Jones proffers, and perfectly deserving of its title. As slowed 3/4 in quicker 6/8 time signatures surface via an obtuse ostinato bassline, the horns accent fully juxtaposing lines swinging amongst a bit of psychedelia. A cute waltz is "Bird Brain," bouncy and fun with the flutes ricocheting off the walls, while "And Don't You Forget It" is a cowboy samba appropriate for any spaghetti western. Harmonicist Toots Thielemans is featured on one track, the ballad "Soldier in the Rain," with the sighing horns as the precipitation. How Jones is able to interpret Mancini's music with such diversity and new ideas is positively amazing, providing a unique listening experience for even the staunchest Q fan. ~Michael G. nastos

Explores The Music Of Henry Mancini

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Patty Lomuscio - Star Crossed Lovers

Styles: Vocal
File: MP3@320K/s
Time: 41:37
Size: 95,9 MB
Art: Front

(4:20) 1. Lullaby (For Ambra)
(4:08) 2. Star Crossed Lovers
(3:37) 3. This Can't Be Love
(6:34) 4. Left Alone
(5:09) 5. You're My Everything
(4:40) 6. E Se
(4:23) 7. Cedar's Blues
(5:24) 8. Body & Soul
(3:17) 9. Love Walked In

The Italian singer Patty Lomuscio had long dreamed of making an album in New York with pianist Kenny Barron. Now she has done so. Alongside Barron is drummer Joe Farnsworth, bassist Peter Washington and Vincent Herring on alto saxophone.

The title track, comes across really well. Lomuscio's talents start to shine through and then with the next offering, "This Can't Be Love," it becomes obvious that a certain British Dame has influenced this Mediterranean songstress: her scatting is reminiscent of Cleo Laine and indeed so is the general style here. Joe Farnsworth's drum solo is also really enjoyable. A Billie Holiday song fills slot four with piano and sax solos bringing extra enjoyment to "Left Alone."

"You're My Everything," which comes from the 1931 revue The Laugh Parade is competently sung. Conversely, unless one speaks Italian, one won't understand the lyrics of "E Se." It was written for Lomuscio by her friend Mario Rosini and its meaning is close to her father. It would not sound amiss in a James Bond film as the hero walks into a cocktail bar and sees the beautiful woman singing on the stage.

"Body and Soul" is another 1930s composition, this time penned by Edward Heyman, Robert Sour and Frank Eyton. Last is the George and Ira Gershwin number "Love Walked In." Patty Lomuscio has produced an emotional and enjoyable album. By Paul Beard https://www.allaboutjazz.com/star-crossed-lovers-patty-lomuscio-challenge-records

Personnel: Patty Lomuscio: voice / vocals; Kenny Barron: piano; Vincent Herring: saxophone; Peter Washington: bass; Joe Farnsworth: drums.

Star Crossed Lovers

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Joe Lovano & Dave Douglas Sound Prints - Other Worlds

Styles: Saxophone And Trumpet Jazz
Year: 2021
File: MP3@320K/s
Time: 69:58
Size: 161,9 MB
Art: Front

(9:59) 1. Space Exploration
(1:04) 2. Shooting Stars
(7:34) 3. Life On Earth
(5:59) 4. Manitou
(7:45) 5. Antiquity to Outer Space
(8:32) 6. The Flight
(5:42) 7. The Transcendentalists
(7:32) 8. Sky Miles
(8:23) 9. Pythagoras
(7:25) 10. Midnight March

Soundprints is a quintet that saxophonist Joe Lovano and trumpeter Dave Douglas assembled to carry on the spirit and philosophy of Wayne Shorter's music. Both of the band's previous albums featured compositions by Shorter himself but this is their first effort to contain only new material written by either Lovano or Douglas.

As the album and track titles suggest, there is an underlying theme of space exploration here which reflects Shorter's long-time love of science fiction. Pieces like "Space Exploration" and "Antiquity to Outer Space" begin with the trumpet and saxophone gracefully shooting upwards like a rocket soaring into space, as the rhythm section faintly tumbles around them. On "Exploration," that leads to Lovano and Douglas playing strings of long notes separately and together, supported by the busy pattering of Linda May Han Oh's bass and Joey Baron's drums. On "Antiquity" the horns soar in unison and slowly gain speed before they give way to an eloquent rolling solo by pianist Lawrence Fields.

These five musicians play with a unity which really shows on quieter pieces such as the swaying waltz "Manitou" and the serene "The Transcendentalists." where everything flows together led by Douglas' muted trumpet and Lovano's rapturous tenor lines. The entire album sparkles with inspired work from all the players. Baron's jogging beat and Field's bright, searching piano stand out amidst the backdrop of "Life On Earth" while Oh keeps the beat tight and drops in a monster bass solo. The rhythm section maps out a freely pulsing beat on "Sky Miles" which suggests Wayne Shorter's time in the 60's Miles Davis quintet. "The Flight" has Lovano and Douglas jostling each other over a melody with sharp, funky corners while, on "Pythagoras," the horns play with a hip swagger as they spiral and swoop over the push-pull rhythm.

Joe Lovano and Dave Douglas are both involved in a lot of varied projects but this band feels like the simplest and most freewheeling either does right now. The music can sound a bit complex on the surface but it has energy and a contagious spirit of fun. At heart, these are five excellent musicians creating music which combines familiar elements and exploratory freedom. This release shows that Soundprints has become a very formidable unit. By Jerome Wilson
https://www.allaboutjazz.com/other-worlds-joe-lovano-and-dave-douglas-soundprints-greenleaf-music

Personnel: Joe Lovano: saxophone; Dave Douglas: trumpet; Linda May Han Oh: bass; Lawrence Fields: piano; Joey Baron: drums.

Other Worlds

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Lee Konitz - You and Lee

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 33:37
Size: 77,8 MB
Art: Front

(4:50)  1. Ev'rything I've Got (Belongs to You)
(4:22)  2. You Don't Know What Love Is
(4:14)  3. You're Driving Me Crazy
(4:03)  4. I Didn't Know About You
(4:10)  5. You're Clear Out of This World
(3:42)  6. The More I See You
(4:10)  7. You Are Too Beautiful
(4:02)  8. I'm Getting Sentimental Over You

One of the lesser-known Lee Konitz albums, this LP (which has not been reissued yet on CD) features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. ~ Scott Yanow

Personnel:   Lee Konitz – alto saxophone; Marky Markowitz – trumpet; Ernie Royal – trumpet;  Phil Sunkel – trumpet;  Eddie Bert – trombone; Billy Byers – trombone; Bob Brookmeyer – valve trombone;  Bill Evans – piano;  Jim Hall – guitar;  Sonny Dallas – bass;  Roy Haynes – drums

You and Lee

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Eddie Harris - Cool Sax, Warm Heart

Bitrate: MP3@320K/s

Time: 33:10

Size: 76.0 MB

Styles: Jazz-funk

Year: 1964/2002

Art: Front

[2:55] 1. Chicago Serenade

[3:51] 2. Since I Fell For You

[3:00] 3. Stum Stang

[2:20] 4. Django's Castle

[4:20] 5. More Soul, Than Soulful

[2:44] 6. Everthing Happens To Me

[4:23] 7. But Not For Me

[6:59] 8. Brother Ed

[2:33] 9. Hip Hoppin'

Eddie Harris – tenor saxophone; Wynton Kelly – piano (tracks 1, 2, 6 & 7); Warren Stephens – guitar; Melvin Jackson – bass; Bucky Taylor – drums; The Malcom Dodds Singers – vocals.

A really fantastic album that's one of Eddie Harris' most unique albums of the 60s! The record features Eddie blowing in that lean and soulful mode that he used on his best Vee Jay albums – a bit exotic, but never meandering, with impeccable placement in all his solos, and a tone that's probably one of the most revolutionary he ever used. Some tracks have a backing chorus of female voices, singing in a floating mode that's hip and easy – and others are straighter jazz tunes, with a nice little groove.

Cool Sax, Warm Heart  

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Hilde Louise Asbjørnsen - Movies & Stories Like This

Styles: Vocal
File: MP3@320K/s
Time: 39:02
Size: 90,9 MB
Art: Front

(3:25) 1. They Don't Make Movies
(5:00) 2. Look to the Stars
(4:05) 3. Carry Around
(4:38) 4. Miscue
(3:43) 5. We Won't Recall
(4:08) 6. Fashion
(3:45) 7. It's Not Spring
(5:03) 8. Funny How Love
(5:11) 9. Undeceivable

On «Movies & Stories like this» jazz singer and songwriter Hilde Louise Asbjørnsen and pianist Anders Aarum present nine original songs about intangible love. The inspiration from Piaf, Brell and Weill is expressed through the atmosphere of the songs, which range from bolero, tango and French waltz to jazz ballads.

Hilde Louise's lyrics spinn around both the minor and the major love affairs. From everyday relationships, the ones that don’t reach the silver screen, but nevertheless come with great drama, to the big love stories, where everything falls to pieces.

Hilde Louise Asbjørnsen has released 11 albums since 2004, and continues to be an important part of the Norwegian jazz scene. Her latest album «Red Lips, Knuckles and Bones» was released on Ozella Music (DE) to great reviews, and was presented at Jazzahead in 2019. She has also nurtured an extensive career in cabaret and musicals on the side. Her latest show and book, «Stardust», is a tribute to female superstars from century past. Stardust got top reviews, is still touring Norway, and will play at Edinburgh Fringe Festival in 2023.

Anders Aarum is a graduate of the Conservatory of Music in Agder, the Sibelius Academy in Helsinki, Gothenburg Academy of Music and the Norwegian Academy of Music in Oslo. He has released 5 albums with his own compositions, the two last ones on Ozella Music, and worked as a pianist, producer and arranger to a number of prominent jazz names like Knut Riisnæs, Ola Kvernberg, Sonny Simmons, Nora Brockstedt, Sigurd Køhn, Julie Dahle Aagård, Randi Tytingvåg. In addition to his own trio, he regularly plays with Knut Riisnæs Quartet and Oslo Jazz Ensemble, and has been Asbjørnsen's pianist, arranger and producer since 2005.

Hilde Louise on Movies & Stories Like This: I have thought a lot about how love governs our lives. It can lie dormant for periods, but then, suddenly, it jumps up like a panther and takes control of everything. It comes in all shapes, and causes the deepest longing, endless sorrow and divine happiness, makes us hate, lie, steal and turns the most introverted dry stick into a generous and empathic lover. Love never ceases to amaze me. This is not a tribute to beauty love, but a celebration of its mysteries https://www.galileomusic.de/artikel/26003/Asbj%C3%B8rnsen_Hilde_Louise_Movies_and_Stories_Like_This

Movies & Stories Like This

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